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Institut for Litteratur, Kultur Og Medier African Egalitarian Values and Indigenous Genres: The Functional and Contextual Studies of Oromo Oral Literature in a Contemporary Perspective Ph.D. Dissertation By Eshete Gemeda Syddansk Universitet, 2008 Institut for Litteratur, Kultur og Medier iii CONTENTS List of Maps vi List of Figures vi Preface vii Acknowledgements xi Introduction 1 1. The Features of Oral Literature: Literary Genres as Transparent Medium 11 The Formulation of Verbal Narrative: The Expressive Aspect 14 The Formal Properties of Oral Art: Stylistic Criticism 15 The Content and Thematic Variation 18 The Formal Principle (Organic Unity) and the Problems of Formalist Theory 20 2. Oral Narrative Tradition within the Context of Development 26 The Transformation of Verbal Narrative: The Representative Role of Identity in Education 26 3. Literary Efficiency and the Interpretation of Oral Literature in Its Own Right: Verbal Repertoire as Socio-Historical Evidence 36 Oral Literature Defined 36 Textual Dimension: A New Critical Approach to Oral Tradition 38 Translation, Interpretation and Deconstruction 42 The Continuity and Relevance of Oral Art: Literary Culture in the Changing Social Climate 49 4. The Comparative Approach to Animal-Centred Narrative: Sophistry and Ruse in Oromo Trickster Tales (Fables) 60 The Nature of Oromo Trickster Narrative 60 Plot Analysis and Styles 64 iv The Ambiguous Journey: Malaan Duula 66 Take Not the Dreamer at Face Value: Mootii Saree 74 The Retribution: The Reversal of Fortune 76 The Disunity: The Insincere Generous 80 The Reward of the Unwise 85 Generalization 87 5. The Aesthetic Qualities of Proverbial Folklore: Linguistic Features, Thematic Structure and Parallelism 91 The Major Aspects of Proverbial Literature 91 Origin and Functions 91 Internal Organization 94 The Pursuit of Moral Quality in Life 95 The Structural Analysis of Proverbial Lore: Semiotics, Narrative Syntax and Semantics 96 The Antithetical Relations of Parallel Categories 97 A Comparison of Parallel Constituents 117 Summary: An Overview of the Universal Character of Oromo Proverbial Lore 144 6. Folk Songs and Poems: Poetic Language and Narrative Style 148 The Functions of Poetry: Poetic Theory and Practice 148 Folk Song Performance as a Genre 155 Poetic Imagery 157 Linguistic Characteristics: Prosodic Features 158 The Love Lyrics: The Arsii Weelluu and the Weedduu of Macha Tuulama 159 The Work Song (Solidarity Song)-‘Weedduu Hujii’ 171 The Satirical and Humorous Poem ‘Suunsuma’ 177 The Social value of Satire 177 Oromo Folklore Genres Classified: The Feature Matrix of Literary Forms 183 v 7. Heroic Literature as Social Protest: A Historical and Cultural Analysis of the Genre of Geerarsa 186 Generalities about the Heroic Epic 186 The Characteristics of Geerarsa 189 The Geerarsa Narrative in Response to Violently Marginalized Identity: Modernism, Empire and the Historical Development of Protest Literature 196 Literary History: The Geerarsa as a Genre of the Heroic Age 201 The Heroic Tales of Eastern Oromo (Hararge) 201 The Protest Narrative of the Southern Oromo (Arsii) 210 The Heroic Literature of Central and Western Oromo (Macha and Tuulama): The Geerarsa within the Context of the Gabbaar System 217 Recapitulation 230 Conclusion 235 Appendix : Oromiffa Tropes as Essential Ingredients of Oral Literary Criticism 249 An Oromiffa Literary Glossary 283 Bibliography 287 vi LIST of MAPS 1. Oromiyaa xxi LIST of FIGURES 1. Aesthetic Response to Oromo Oral Tradition 9 2. The Way Oral Literature Functions 59 3. Character Revelation and the Plot of the Trickster Story (Malaan Duula) 73 4. The Constituent Structure Analysis of Proverbs 125 vii PREFACE In order for oral literary studies in Africa to make sense, it is always necessary to have insight into, and a feeling for, aspects of African experience and cultural life, which transcend the work itself and are the foundation for successful research. This kind of approach in the broadest sense implies that oral literary criticism should take into account everything within the societies that can lead to realistic investigation. It is probably more rewarding to try to trace the literary sensibility and aesthetic quality of African oral tradition from history, the established values and identities. Until the late 1960s, African indigenous literature was studied exclusively by traditional anthropologists and understood as casual utterance rather than being discussed in terms of aesthetic roots and national character. Such inadequate attempt not only limited oral tradition to the mythical level, but also separated the artists from the nature and substance of their work. We are still confronted with many problems and wrong impressions left by old anthropologists and formalist theoreticians. When I say the Oromo oral narrative tradition is the representation of objective reality, I am referring to the practical function of each genre within the context of the daily life of the society. This means, each literary form is the result of what the society has experienced in the process of struggling for survival. It directly reflects problems, glorious times, behaviours, aspirations, identity, attitudes, ideology and values. This is discussed in terms of poetic character and socio- political situations (meta-communication). I have made clear that the non-literary and non-academic approach to folk-literature cannot give the succeeding generation an insight into fundamental creative spirit. Oral literary studies become effective only if a peculiar context in which the deep structure or abstract narrative that has been continuously created by an individual performer is closely examined by a researcher. Without disregarding that there are general cultural conventions operating in the Oromo tradition to which folk-literature is subject, I have preferred to concentrate on giving more attention to re-creativity which the oral narrator has drawn in the scene of his/her performance to viii achieve the intended social meaning. What makes oral literary studies so problematic is that the oral material is organized in a form of complex interpretive range of discourse and performance structures. Many literary scholars are unable to address the issue of making broad alternatives that can create new interests which enable them to make a shift of emphasis from traditional discourse to more possible linguistic patterning and findings. In this regard, I am guided by a pragmatic approach and problematic oriented considerations in the analysis of every genre. If a writer or folklorist scholar adheres to the traditional stereotypes and is convinced by an attitude of inequality, he or she may end up with negativity; and in this case, it is likely that lack of expanding appreciation of oral art disfigures the creative power of an individual performer. The ultimate goal of pursuing folklore studies must be directed toward comprehending the role of language in the conduct and constitution of social life. For the effective study of literary culture, there should be the liberation of scholarly vision from an abstractionist tone and the narrow constraints of an old model towards a broad frame of reference and new trends of the recognition of structural continuities. The contextual and functional study of the oral tradition is always recommendable simply because such an approach guides us to the view that verbal genres are the collective possessions of a society; and in this perspective, there is a possibility of recognizing its active role as identity marker. In the treatment of literary tradition, as we do in the criticism of modern fiction, one of the major issues to be addressed is the interplay between linguistics and literary criticism and bringing the two related disciplines together within a broader range of national and international situations. For a theory of literary criticism to be adequate and effective, it should give an account of the nature of a particular work of art and provide readers with a framework of analysis and mode of evaluation. In stylistic terms, the artistic effect of any literary language is tested by what its particular scheme of concepts allows us to say in a practical criticism. The term practical here refers to the realistic approach which involves the analysis of constituent elements, sets out what is exactly to be evaluated in terms of history, culture, themes, subject-matter, aesthetics and attitudes. In the context of the interest of a humane society, not only of a society and mankind as such, but of a free society and mankind, the interesting quality of the Oromo literary tradition is that it serves as a medium of all kinds of educative discourses that help perpetuate the continuity of the binding common ethos of a pluralistic democracy. The prose narratives and poems have been carefully preserved throughout generations merely because they contain the records of the whole ix body of knowledge and valuable deeds that justify the people’s sense of collective glory, identity, dignity, social justice (free social life), liberty and the fundamental cultural values which ensure social solidarity. The unique characteristics of Oromo oral literature is that it encompasses qualities that we find in all democratic cultures and the open-ended narrative techniques which contain egalitarian ideals give us more space for comparative analysis. In this study, I have made efforts to examine various problems, instructive moral issues, social and political concerns raised by traditional Oromo poetics within local, national and international contexts. Though the preoccupation of every society may differ depending on its peculiar characteristics, we need to make tireless efforts to project the beauty of all cultures and literatures so that we can overcome the differences for bad. “Though the vagaries of global politics have so painfully shaken our faith in universal ideals, there is still room for an honest observation of two ways of life that impress us by the degree to which they mirror each other” (Okpewho, 1979: 242). The burden of explaining the beauty of human cultures, traditions and literatures rests with writers and scholars who see diversity as the centre of fascination and pleasure.
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